The reggae artiste, Ras Murphy Van Anthony, once commanded great patronage in the country. Since the emergence of afrobeats as the dominant voice in the street, reggae music has been pushed to the margins. In this no-holds-barred interview with DANIEL ANAZIA, the former factional leader of PMAN hints on possible rebirth of the genre.

Who is Ras Murphy Van Anthony?
I am Ras Murphy Van Anthony of the Survival and True Reggae Band. I was born as a child with dreadlock, and my mum was a wonderful singer in the Church, and whenever she sang, you felt the soul of her voice. Even at home, whenever she sang, I ran to listen to her. At the age of nine, I was already a good singer. I was singing and performing in different clubhouses in the old Bendel State. Because of my hair, people started calling me Junior Marley.  Then I didn’t even know who Marley was until I clocked 14, and fans began to call me Junior Rasta, and then I started singing reggae music and also joined them whenever they were going for their rehearsals every month. That was how the spirit of a true Rasta man came upon me.

Why reggae?
I will say reggae music chose me because it gives me more inspiration. Also, it is the easiest way to pass a good message to the world. Growing up, I listened to the cries of the common man, and when I heard Bob Marley, Peter Tosh, and later Sonny Okosun, I knew this was my calling. As I said earlier, I was born with dread. So, becoming a reggae musician was a spiritual awakening. Reggae music is about consciousness, identity and truth. Highlife entertains, juju celebrates, pop excites, but reggae liberates. Reggae gave me a voice to speak for the voiceless. It gave me a message, a mission, and a movement. It is not just music; it is prophecy with drums and bass. With reggae music, I am content with whatever I have; I am self-disciplined and of good character. And not just that, because of the spirit of God in me, I’m able to hold on to one woman.

Some people today wear dreadlocks: Some are natural, others are for fashion. For you, what does ‘Rasta’ mean? Is it the hair, faith, lifestyle or philosophy?

Rasta to me is philosophy and levity. It’s not just the dreadlocks; it is discipline, love for Jah, love for humanity, and living in truth. Someone can also be a true Rasta without carrying dreadlocks. The hair is a symbol, but the heart is the real covenant. When you have faith, everything will work out for you. Then philosophy is the final word.
You came up in the era of Majek Fashek, Ras Kimono, Orits Wiliki, Peterside Otong. Describe that era and what the energy was like?

Although during the time of these artistes, I was much younger, their energy was so strong, with good music and competition. That era was fire; I call it the golden era. We had real messages; the energy was revolutionary. When Ras Kimono climbed the stage, the whole place shook. Majek was a prophet with a guitar. They were not singing for fame; they were singing for freedom.

What made reggae of the 80s/90s so powerful?
The times were hard — military rule, the Structural Adjustment Programme (SAP) and suffering everywhere — people needed a voice. The message was so real and powerful; the live bands gave it power. The beats and the production were energetic because reggae music has different patterns of beats. You could feel the bass in your chest. It was not programmed on a laptop like we have today; it was played with sweat and soul.

Which song from that era still gives you goosebumps today?
The Mandators — Crisis; Majek Fashek — Let the Righteous take over the earth, and Ras Kimono — What’s Gwan. Each of these songs captured Nigeria perfectly then, and it still does today.

Would you say the genre is dead or just under?
Reggae music is not dead; it cannot die; it’s just underground, waiting for its season. Truth never dies; it only goes quiet for a while. When the suffering increases, the movement will rise again because the people will need its message.
Afrobeats stars like Timaya, Burna Boy, Patoranking, BNXN, Ruger and Qing Madi, among others, borrow heavily from reggae/dancehall. Is that a tribute?

I respect all these artistes but can’t say anything about some of them because they are not reggae artistes, except Patoranking, who carries, or still carries, the reggae spirit. Let’s be honest, they are standing on the foundation we built; they should give more honour to the root. They call it Afrobeats, but the blood in it is reggae.

Why hasn’t Nigeria produced a new Majek or Kimono in 20 years? What’s missing — talent, labels, or courage?

Well, I will say that what is missing is courage and structure. Everything in life has its time and season; the focus of the media now is on Afrobeats music, and nobody wants to front a reggae artiste. The talents are there, but the labels want quick money; radio wants payola, and many young artistes are afraid to be conscious. Majek and Kimono were fearless. Today, many want to trend, not to speak the truth.

Can conscious, message-driven music compete in an era of 15-second TikTok hits and streaming numbers?
Yes, it can, but we must be wise. We cannot ignore TikTok and streaming, but we must not sell our soul to them. Unlike in the 80s and the 90s, when there was no internet, conscious, message-driven music was fire. I don’t think there’s any new wave for now; a 15-second hit fades, but a message lives forever. We need to package consciousness in a way the youth can digest.

What do you think of the new wave of Nigerian reggae/dancehall artistes? Who excites you?

I see some fire coming up with artistes like Oge Kimono, and some underground youths in the ghettos are keeping it real. I am excited by any youth who chooses a message over noise. They need support, not discouragement.
Given the current hardship in Nigeria, do you think the genre still has a place in the protest music space?
This is a painful question. The hardship in the country today is more than before, but protest music is silent. I’m glad everybody is feeling the heat because they don’t want to listen to reggae music; all they want to hear is worldly music. Many artistes are compromised; the streets are boiling, but I tell you, soon the music will catch up with the pain.

How does your faith/spirituality shape your music?

Though I’m a Rasta, but Rasta for Jesus; I’m a born-again Christian, which is why I play Gospel/Root reggae music. My spirituality is the root of my music. I serve Jah, the Almighty. Rasta is not against God; it is about knowing God in truth and living righteously. In Nigeria, people misunderstand us, but I respect all faiths. Love is my religion.

If you were to write a protest song for Nigeria, what would the chorus be?

United we Stand; Nigeria, wake up, enough is enough. It’s simple, direct, and from the heart of the masses.

How does a reggae artiste survive financially in Nigeria today?

The truth is that if you think of CDs or Streaming, you will go hungry. Let me speak for myself: the truth is that whatever position you hold today, think of tomorrow because today is not forever. I survived today because I’m into a genuine business, and by God’s grace, I will never lack.

Live band culture is dying; DJs have taken over. What has that done to musicianship in Nigeria?

Live band is dead as far as I’m concerned because, when it comes to originality, it has weakened musicianship. Nowadays, people use Disc Jockeys (DJs) to get what they want; they don’t even want to pay their instrumentalists. The artistes nowadays want to make more money for themselves alone, instead of making money to pay their instrumentalists. Gone are the days when instrumentalists made money; that’s why many instrumentalists are now playing for the churches. When you kill live bands, you kill training grounds for young instrumentalists. We must bring back the culture of live performance.

What’s the biggest lie(s) the Nigerian music industry told your generation, and is it still telling the new generation?

The biggest lie Nigerian music has ever told is to make us believe that our music is not selling the way we expect it to be. Also, “just blow, and you will be rich forever.” Many blew and ended up broke because there was no structure, no savings, and no royalties. That lie is still being told today, only now it is packaged as “go viral.”

50 years from now, when the history of Nigerian reggae is written, how do you want Ras Van Anthony’s name to appear?
As far as I’m still alive, only God can tell about my tomorrow because my hit song is on the way. I want my name to appear among those who kept the fire burning when others ran to commercial music; a defender of roots reggae and a fighter for musicians’ rights.

What concrete steps in your view can revive reggae music culture in Nigeria. Is it festivals, radio, collaborations with Afrobeats stars?

We need dedicated reggae festivals, we need radio airplay without payola, and we need conscious collaborations with Afrobeats stars. A pure roots track by some of the Afrobeats stars with reggae blood like Patoranking, Timaya with a veteran will help create a bridge and bring the youth back to reggae culture.

If you could do a collaboration album with three current Nigerian artistes to bring reggae back to the mainstream, who would they be and why?

If I want collaborate with any artiste in Nigeria that would be Davido because he is very humble; Patoranking because he has the reggae foundation, and Asa, because she has the soul and message. Together, we would make a powerful statement.

What are you working on now—new album, tour, book, mentorship?

I’m working on a new album titled United We Stand. I am also planning a national consciousness tour with my Survival Band, focused on peace, unity, and survival.

Will Nigerian reggae rise again? If yes when?

Yes! It will rise again by Jah grace, and that time is now. The people need a voice, fire is already kindling underground.

Majek Fashek’s Send Down The Rain or Ras Kimono’s Under Pressure, Which will you go for?

Looking at the current condition of Nigeria now, I will go for Ras Kimono What’s Gwan and Under Pressure, because Nigeria is under serious pressure right now — economic pressure, social pressure. But we also need God to Send Down the Rain as answer to our prayer for healing. Both are relevant, but Under Pressure speaks louder today.

One reggae song every Nigerian politician should be forced to listen to?
Ras Kimono – Under Pressure; they need to remember that the people have rights, and power without justice will not stand.

What’s your advice to a 17-year-old in Ohaozara who wants to do reggae?

My advice to him would be to focus on his lyrics, a good beat, and good production. Learn to play an instrument, read, meditate, and do not chase quick fame. Reggae is a mission, not just music.